A different proposition from El Toro, and one that sways considerably from the norm of rockabilly, with Smokin A and his debut album ‘Smokin’. More notably, Smokin A is a mysterious figure with very little known about this artist apart from the contents of the long player ‘Smokin’ that was recently thrust under our noses. After countless repeat plays, any efforts to pin down the influences at the heart of this record has remained a difficult task, and one that has been matched with much enthusiasm on this side of the counter. If labels are required, however, then Smokin A offers ten tracks of sparsely influenced rhythm and blues blended with sparse references to soul and rock ‘n’ roll. Such references become blurred, however, once the likes of ‘Wishmaster’ makes its entrance with its 60s flavoured organ, but it’s a song that is far more current despite hefty links to the past as it’s a track that wouldn’t sound out of place in an Artic Monkey’s set list or side project The Last Shadow Puppets. The bare components of the song structures continues (‘Work Of Art’) and often shrouded in dark moods (‘Dirty’) and disconnected feelings (‘Smokin’). Such feelings are captured to perfection throughout ‘Normal’ where the central guitar plucks out the lines providing real expression, and one that greatly complements the deliberate lack of interest given by the vocals. With further mystery surrounding this artist due to the addition of two extra tracks that were not chalked up on the board for your reading pleasure, the album presented by Smokin A really provides a sharp prod to one’s senses because despite taking its references from the past, the album ‘Smokin’ does not sound of vintage age yet is more at home in the present. A refreshing outlook indeed from both recording artist and record label.

Calling your band Nashville after the capital and largest city of the U.S. state of Tennessee is a sure-fire way to get your band noticed. A wise manoeuvre from the five-piece country outfit from south Trøndelag, Møre and Romsdal in Norway. With Frank Kåre Vangen (vocals), Anders Sinnes (guitar), Steinar Grindheim (bass),Trond Tangvik (drums) and Rune Sildnes (keyboards) producing the goods for their third album ‘Swinging From the Chandelier’, which is something of a landmark for Nashville as they celebrate ten years in the music business. It’s not all in a name however, when it comes to this Norwegian country band as Nashville possess a fine knack of writing catchy and melodic tunes that lean towards the commercial end of the country music genre. Nothing wrong with that of course, but sometimes there’s a tendency for such ideas to become a little blurred and samey after a period of time. Having said that, there’s much fun to be heard via the album’s title track, which is a “foot stomping” and carefree country pop number full of recent memories of summer festivities, and one that is followed elsewhere by a memorable rhythm and strong desire for the simple pleasures in life expressed during ‘What I Want’. Likely to be a huge success with country lovin’ folk in this particular part of Scandinavia, Nashville, with their engaging country rock and sense of fun, has the potential to wow American audiences because ‘Swinging From the Chandeliers’ is of a similar ilk to albums produced by America’s major commercial country artists. A shrewd and talented outfit, Nashville can kick back and enjoy their tenth anniversary based on the evidence of their latest LP.

Is this truly goodbye? Well, quite possibly for the assortment of characters including Trixie Marmalade, Mr Orlando Bloom, and Uncle Beefhart considering he’s a distant relation of the original forefather of the weird-out cauldron of blues, jazz, alternative rock (Yes, only the term hadn’t been coined back then), etc. Of course, let’s not forget the main Space Cats here from Jupiter, who seem keen to head to destinations new but not without leaving a rather terrific parting shot with their brand new album ‘Goodbye Earth’. There are changes afoot with this sophomore effort with the heavy psychedelia from before toned-down, and in place more deliberated efforts such as the beautiful intro ‘Waltz for Yellow Spectral Star’ (Ringo Starr Yellow Submarine is scribbled on the notepad but no resemblance in sound) where guitar and keys combine slowly and steadily building a wall of noise that eventually allows for Kristine Marie Aasvang to apply vocals to the cacophony where one can sense the bags are packed and ready for loading on deck as this ship is heading skywards and deep into space. In order to get there, the Harvey Steel show let the engines ignite and burn brightly via The Doors inspired ‘Hunting Shadows’ where sundried, cracked desert landscapes appear and then close from view in flashes of darkness only to reappear before the exit from Earth looms and then closes its gates for the final time behind wails of feedback. It remains their finest moment and a song to be TRULY proud of. Once in space the intermission kicks in with the delightful sound of ‘If Pigs Could Fly’ that is at once frivolous yet also leaves one to ponder due to the chilling afterthought, “If you think you’re free, there’s no escape possible”. A whole melange of styles clash during ‘Impressionistic Umbrella’ that is (take your pick) part New Wave, part blues and a different take on the Grease soundtrack, if you will, revealing the charming side of this band. Poor old Orlando! A previous single, and more a reflection of what’s wrong with this planet, ‘Orlando Bloom’ throws up society’s wrongdoings whilst playing out in part to a soulful shuffle that is reminiscent of the Mr Soft character that Noel Gallagher famously talked about with regard to a certain Oasis number. Elsewhere, the Harvey Steel show flex their version of the blues, and skilfully so, with the compelling ‘Red Queen Blues’, and then proceed to produce the wonderful jazz turn, ‘Outer Space (part 2) which, unfortunately, is trimmed too short. The final statement arrives by means of ‘Waltz for Trixie Marmalade’ that borrows from Radiohead’s ‘Fitter Happier’ with its synthesized voice that eventually allows the entire contents of ‘Goodbye Earth’ to disappear into the black hole of space with predominantly the sound of jazz leaving its mark. A masterclass in how to combine surrealism with reality and make the whole project gel consistently, the Harvey Steel show has just upped their game. Hopefully, this is not their final statement.

Try not to get too confused, but here’s a newish band of sorts with a singer-songwriter all the way from the land of OZ by the name of Derek Lee Goodreid, who made his way to Oslo (Norway) and started out life as Howling Light in 2016. Joining on lead guitar and banjo were local residents Torkel Ruud and violinist Tor Sivert Gunnes, only for this multicultural line-up to be completed once bassist Andrzej Barszczyk arrived from Poland, and drummer and slide guitarist Phil Perry Ohlsen from neighbouring Sweden. Rather than opting for a more familiar pop sound considering their surroundings, Howling Light look to the south of America with traditional roots sounds infiltrating their music, and clearly heard during current single ‘The Love’. Starting off in finger plucking fashion via acoustic guitar, ‘The Love’ transforms into something of a riotous affair with part-distorted vocals and a driving beat where lead guitar and violin compellingly joust for equal amounts of airtime. It’s a passionate slice of rockin’ country strands and one that is in perfect harmony with its song title, leaving Howling Light as a band worth keeping tabs on.

Having entered our consciousness a couple of years ago after taking up (permanent?) residency on planet Earth, the Harvey Steel show return with their ultra-weird yet thoroughly compelling brew of blues, psychedelia and arthouse visuals via brand new offering ‘Orlando Bloom’. One can be forgiven for thinking the obvious regarding the title of said new single with the facial exterior and matching persona of “the guy next door”, yet somehow gold dust all the way from tinsel town rains down on this here parade. Open up the contents, however, of ‘Orlando Bloom’ the single and the innards are the kind you will find in any assorted box of chocolates where variety really is the key word to understanding the world these cosmic cats, the Harvey Steel show, reside in. By beginning with a sense of urgency that is relayed via a trippy jazz sound with a real sense of foreboding developing, ‘Orlando Bloom’ soon takes a multitude of avenues where pop mingles with soul, for example, to create a little boogie, and given extra buoyancy to this journey by means of brass instrumentation. The predominant lightness of tone musically provides a temporary mask to the lyrical contents, jointly penned via band leader Thomas Bergsten and fellow comrade Kristine Marie Aasvang, where there’s suggestion that ‘Orlando Bloom’ is really concerned with the flaws affecting planet Earth. It’s a fascinating ride and one that deserves to be given a fair hearing if there’s any justice left in this world.

There is a personal message at the heart of this album via its creator and (mad) musical wizard Thomas Bergsten (aka Mr Harvey Steel or otherwise known as Gunerius Quack) that is told through the eyes of Trixie Marmalade. The plight in question focuses on the transformation of humanity into one big loveable hug because at present there is far too much focus on the individual self that can lead to bad habits such as temptation, selfishness and hatred. In order to get there, Trixie Marmalade, whose identity is a tad sketchy – definitely female; quite possibly green with bulbous eyes yet for this trip to Earth the unfortunate truth is that Trixie found herself stuck inside a cardboard figure! Therefore, with help required, Gunerius Quack comes to the rescue in order to transmit Trixie’s message so that humankind can begin to love itself again rather than spread further hatred as experienced from the parallel universe from where Trixie came. Phew! With that aside the music being peddled from this long player is far from easy listening, with a large spread of influences being applied over a canvass containing elements of ambient, jazz, psychedelia, blues for example, and with the narrative communicated in a mechanistic styling that is part Stephen Hawking and part Radiohead ‘OK Computer’ with Captain Beefheart and Tom Waits for company. The rest really is up to the listener in terms of what to make of ‘Trixieland (the musical)’ because it is a highly inventive body of work that weighs heavily on surrealism as well as reality (see above). There is one thing for certain, however, and that is the equal measure of confusion, delight and irritation ‘Trixieland (the musical)’ will create where creative peaks such as the quasi-hillbilly pickin’ ‘His Name Is Hatred’ are greeted by more difficult companions (‘Hello I Love You’). Whoever said art should be an easy ride?